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SOUSA Music for Wind Band • 18 the Stag Party the Charlatan – Incidental Suite March of the Pan-Americans – Part 2

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SOUSA Music for Wind Band • 18 the Stag Party the Charlatan – Incidental Suite March of the Pan-Americans – Part 2 AMERICAN CLASSICS John Philip SOUSA Music for Wind Band • 18 The Stag Party The Charlatan – Incidental Suite March of the Pan-Americans – Part 2 Trinity Laban Wind Orchestra Keith Brion John Philip John Philip Sousa (1854 –1932) Music for Wind Band • 18 S(O185U4–19S32A) John Philip Sousa personified turn-of-the-century symphonic poems, suites, operas and operettas. His America, the comparative innocence and brash energy principles of instrumentation and tonal color influenced Music for Wind Band • 18 of a still new nation. His ever touring band represented many classical composers. His robust, patriotic 1 America across the globe and brought music to operettas of the 1890s helped introduce a truly native The Merry-Merry Chorus (1923) 8:30 hundreds of American towns. Born 6 November 1854, musical attitude in American theater. 2 he reached this exalted position with startling 1 The Stag Party (1885) 9:24 quickness. In 1880, at the age of 26, he became The Merry-Merry Chorus (1923) 3 Sousa’s The Merry-Merry Chorus is an arrangement of conductor of the U.S. Marine Band. In twelve years the Among My Souvenirs (Symphonic Sketch) (1928) 9:27 vastly improved ensemble won high renown and the March King’s favorite opera choruses. Sousa Sousa’s compositions earned him the title of “The claimed the score was created to do honor to opera’s The Charlatan – Incidental Suite March King.” Sousa went one better with the formation grand choral scenes and the opera choruses who sang 4 (arr. K. Brion for wind band) (1898) 8:08 of his own band in 1892, bringing world acclaim. them. His score opens with “ Vin ou biere ,” the “wine 5 I. Social Laws 1:38 In its first seven years the band gave 3,500 and beer” chorus from Gounod’s Faust , and concludes 6 II. The Faithless Knight and the Philosophic Maid 1:59 concerts; in an era of train and ship travel it logged over with the rousing Anvil Chorus from Verdi’s Il trovatore . 7 III. Golden Cars 1:25 a million miles in nearly four decades. There were 2 IV. Mazurka 3:02 European tours in 1900, 1901, 1903, and 1905, and a Stag Party (1885) world tour in 1910 –11, the zenith of the band era. This Sousa humoresque was composed during his period as conductor of the United States Marine Band (1880– 8 Chris and the Wonderful Lamp (1899) The unprecedented popularity of the Sousa Band Fanny 2:39 came at a time when few American orchestras existed. 92). It depicts the adventures of a happy party of students From the Civil War to about 1920, band concerts were on their “night out.” Among the familiar melodies are I Won’t Go Home till Morning , Drink to Me Only , Auld 9 March of the Pan-Americans – Part 2 (1915) 21:38 the most important aspect of U.S. musical life. No finer band than Sousa’s was ever heard. Sousa modified the Lang Syne , and the Soldier’s Chorus from Faust . 0 XIV. Mexico 1:35 XV. Nicaragua 2:01 brass band by decreasing the brass and percussion 3 ! Among My Souvenirs (1928) XVI. Panama 1:38 instruments, increasing its woodwinds, and adding a @ harp. His conducting genius attracted the finest Sousa’s setting was based on a popular tune of the day XVII. Paraguay 2:51 # musicians, enabling him to build an ensemble capable which was originally composed by Horatio Nicholls $ XVIII. Peru 2:25 of executing programs almost as varied as those of a and Edgar Leslie. Sousa’s notes for his “humoresque” % XIX. El Salvador 2:38 symphony orchestra. The Sousa Band became the arrangement were as follows: ^ XX. Uruguay 3:52 standard by which American bands were measured, “The Nicholls song, Among My Souvenirs , is & XXI. Venezuela 1:35 causing a dramatic upgrading in quality nationally. XXII. United States of America 2:33 Sousa’s compositions also spread his fame. Such lengthened into a sketch. Among his souvenirs is a marches as The Stars and Stripes Forever , El Capitan , photograph, letters and a broken heart. As he meditates, The Washington Post , and Semper Fidelis are he goes back before the broken-hearted time and universally acknowledged as the best of the genre. remembers when he and she were softly singing Sousa said a march “should make a man with a wooden Twinkling Stars are Laughing at You and Me . Then his leg step out,” and his surely did. Although he mind reverts to the time when he was ‘Seeing Her standardized the march form as it is known today, he Home,’ recalling the songs of years gone by at ‘Aunt was no mere maker of marches, but an exceptionally Dinah’s Quilting Party’ – as he was ‘Seeing Nellie inventive composer of over 200 works, including Home,’ and then he travels to the Far East, and visions of ‘The Road to Mandalay’ come to him – from that he Star Spangled Banner and Yankee Doodle ), after which Trinity Laban Wind Orchestra meditates on the ‘Sweet Mysteries of Life’ and then the various Pan-American songs and anthems appear comes the closing picture, as he is once more ‘Among in alphabetical order and without pause: Flute Contrabass clarinet Trombone His Souvenirs.’” Argentina: Old, mortales , Bolivia: Bolivia non el ha , Aoife Galvin Emily Maloney Vanessa Ritchie-Suarez Brazil: Hymn of the Proclamation of the Republic , 4 7 Georgia Cooke Nic Jones – The Charlatan – Incidental Suite (1898) Chile: Dulci Patri , Columbia: ¡Oh Gloria Inmarcesible! , Sophie Bowes Bassoon Philip Entwistle Sousa’s operetta The Charlatan was perhaps second in Costa Rica: De la Patria , Cuba: Himno Nacional Laura Cioffi Dan Bosinceanu Sam Leahy Byard popularity after El Capitan , and was highly praised for Cubano , San Domingo: Quisqueyanos valientes , Deanna Greenwood its musicality. Dictionary synonyms for “charlatan” Ecuador: Salva, Oh Patria and Haiti: La Dessalinienne . Piccolo Tuba include: “a person falsely claiming to have a special Part 1 concludes with Honduras: Dios Salve a Honduras . Laura Cioffi Contrabassoon Joe Palmer knowledge or skill: a quack, sham, fraud, phony, Part 2 , recorded here in Volume 18 , and also in Natalie Bernard Josh Bennett fake, impostor, cheat, etc.” alphabetical order, contains the remaining half of Oboe At various times throughout his career Sousa Sousa’s 40-minute long March of the Pan-Americans . Olivia Fraser Saxophone Euphonium and Baritone horn arranged individual songs and choruses from the The selections include: Mexico: Mexicanos, al grito de Helen Cockcroft Bethany Miles (Alto and Soprano) Phillipe Schwartz (guest) operetta for performance by his own band. He also had guerra , Nicaragua: National Hymn : Blas Villallas , Giles Rozier-Pamplin (Alto) Anna Brown one of his staff arrangers create a band arrangement of Panama: Canto Patriótico Istmeño , Paraguay: Clarinet Harry Methley (Tenor) the operetta’s Russian Peasant Dance . Keith Brion has Paraguayos, República o Muerte , Peru: Somos Libres , Jessica Tomlinson Wesley Frankel (Baritone) Timpani combined these four individual settings into an Salvador: Saludemos La Patria , Uruguay: National Air , Elliott DeVivo Tom Daley Incidental Suite from The Charlatan . and Venzuela: Gloria al bravo pueblo . The entire work Liliana Luongo French horn concludes with the US national anthem as arranged by 8 Alice Brooks Derryck Nassib Percussion Chris and the Wonderful Lamp – Fanny (1899) Sousa à la Wagner’s Tannhäuser Overture . Katie Walters Lucy Gray George Jones In the 1899 Sousa operetta, Chris and the Wonderful Darryl Noel-Davila Sam Peate Daniel Robinson Lamp , Chris successfully competes with the genie for the Keith Brion Caitlin Jeffery Freya Gillon Laura Prescott affection of Fanny, who is portrayed here in a lilting Hannah Hever Sean Davies Henry Fynn waltz. Sousa frequently transcribed the most popular arias Booklet notes are freely based on material taken from Chris Hatton from his operettas as cornet solos for his band concerts. The Works of John Philip Sousa , Integrity Press, with Livia Frankish Cornets and Trumpets Harp the express permission of the author, Paul E. Bierley. 3 9 & Emily Maloney Peter Athans Gabriella Jones3 – March of the Pan Americans – Part 2 (1915) Natalie Mellers Cherry Fung Sousa created this unusual work to fulfill requests from The introduction is extracted from Roger Ruggeri’s E flat clarinet Andy Pitt 8 both the Pan-American Union and the American program notes for the Milwaukee Symphony. Katie Walters Alisdair Ashman (Cornet solo ) Scientific Congress. His nearly unknown and Ella Vickers previously unrecorded March of the Pan Americans is Special thanks for their assistance in preparing this Alto clarinet Sarah Owens not a march at all. Instead it is a lengthy non-stop recording to: Loras Schissel, Sousa Collection, Library Chris Hatton arrangement of the national anthems or national songs of Congress; John Sousa IV, Pres., John Philip Sousa of the independent nations of North and South America Inc.; Paul E. Bierley, Sousa’s biographer; John Bierley, Bass clarinet as they existed in 1915. Not included in the 1915 cover photo assistance, The Library of The United Livia Frankish scoring were those Western hemisphere nations aligned States Marine Band; Brian Holt, New Sousa Band, with other countries, for one instance Canada, then percussion consultation; and The Sousa Collection at more closely connected to Great Britain. the University of Illinois. Part 1 , which has already been recorded on Volume 17 (8.559811) of the Naxos Sousa for Wind Band series, begins with a short introduction (based on the Trinity Laban Conservatoire Trinity Laban Conservatoire is the UK’s only conservatoire of music and contemporary dance. As a leader in music and contemporary dance education, the conservatoire also provides exciting opportunities for the public to encounter dance and music, and access arts health programmes.
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